DOCSLIB.ORG

Stories of the Beautiful: Narratives of East–West Interchange at the Freer

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stories of the Beautiful: Narratives of East–West Interchange at the Freer Stories of the Beautiful Narratives of East–West Interchange at the Freer Gallery of Art and Arthur M. Sackler Gallery Lee Glazer Complex networks of East–West interchange and cross-cultural encoun- ters—what Cynthia Mills, in her introduction to this volume, describes as “dynamic international relationships”—have played a defining role in the formation and development of the Smithsonian Institution’s art museums generally, but perhaps most especially at the Freer Gallery of Art where, as the marketing department once proclaimed, “America meets Asia.”1 When the Freer, the first art museum of the Smithsonian, opened to the public in 1923, it was also one of the first American museums to exhibit Asian objects in an aesthetic rather than ethnographic context, juxtapos- ing them with a select group of contemporary American paintings. As the historian Steven Conn has noted, the Freer posited “a fundamental aes- thetic connection” between past and present, East and West that was based on a cosmopolitan ideal of “sameness, commonality, and especially cultural cross-fertilization.”2 Indeed, when the museum’s founder, Detroit industrialist Charles Lang Freer, offered his collection of Asian antiquities and American art of the Aesthetic Movement to the nation in 1904, he explained to Smithsonian Secretary Samuel P. Langley that in spite of their diversity, his artistic holdings were part of an interconnected series constituting a harmonious aesthetic totality. Like James McNeill Whistler, the expatri- ate American who encouraged Freer’s interest in the arts of Asia, Freer believed that the aesthetic harmonies he discerned among the objects in his collection were evidence of a transcendent, timeless, and univer- sally valid “story of the beautiful.” Riffing on Whistler’s conclusion to the “Ten O’Clock” lecture that “the story of the beautiful is already 217 complete—hewn in the marbles of the Parthenon—and broidered, with the birds, upon the fan of Hokusai,” Freer told Langley, “My great desire has been to unite modern work with masterpieces of certain periods of high civilization harmonious in spiritual suggestion, having the power to broaden aesthetic cul- ture and the grace to elevate the human mind.”3 Because he thought his collection was best understood and appreciated as a totality, Freer placed a number of restrictions on his bequest, including prohibiting future additions to his American holdings. Recognizing that many new discoveries were still to be made in the field of Asian art and archaeology, however, Freer added a codicil to his will allowing for the occasional acquisition of “very fine examples of Oriental, Egyptian and Near Eastern fine arts.”4 As a result of the tremendous growth of the Freer’s Asian collections over the years and with the opening of the Arthur M. Sackler Gallery in 1987 (to which the Freer is joined architecturally, through an underground gallery space, and administratively, through a shared staff), the Freer’s focus has shifted away from its founder’s emphasis on transhistorical aesthetic commonalities. Despite some significant differences between the Freer Gallery of Art and Arthur M. Sackler Gallery in terms of their respective collections and visitor experiences, the two museums are now known, in the shorthand of in- stitutional branding, as “the Smithsonian’s museums of Asian art.” Collections and staff are mostly organized around geographical and cultural areas—China, Japan, Korea, India and the Himalayas, Southeast Asia, the Islamic world, the ancient Near East, America—underscoring cultural differences as well as aesthetic distinctions. Successive generations of curators have contributed to richly documented accounts of the Freer’s masterpieces and the institution’s history and have organized impor- tant exhibitions encompassing a wide range of Asian geography and art history. A survey of those accomplishments is beyond the scope of this essay; the interested reader can consult the museum website at www.asia.si.edu to search collections on- line, learn about past exhibitions and publications, and explore the finding aids for archival and bibliographic materials. Rather than attempting a comprehensive consideration of resources at the Fre- er Gallery of Art and Arthur M. Sackler Gallery, then, this essay will describe and comment on a small selection of materials related to the idea of cosmopolitanism on which the Freer Gallery of Art was founded. The intention is to situate Freer’s collecting narrative within a more specific context of cross-cultural import-export. These more complicated narratives are not necessarily linear and certainly not te- leological; they are meant to be understood as sketches, cross-cultural vignettes that might be useful and thought-provoking to teachers, students, and scholars on both sides of the Pacific. 218 East–West Interchanges in American Art “Mr. Whistler Does Unite the Art” Freer’s transformation from capitalist to connoisseur can be dated to 1887, the year he bought a set of Whistler etchings—his first works by the artist—from Frederick Keppel in New York City. That same year he purchased a small Japa- nese fan from Takayangi To-zo-, a Japanese art dealer with a shop on Fifth Avenue. In 1892 he returned to To-zo-’s establishment and bought his first Asian ceramic, an Edo-period Satsuma water jar whose underglaze design, inspired by Chinese ink painting, reminded Freer of a Whistlerian landscape.5 “Collecting comes to mean collecting precisely when a series of haphazard purchases or gifts suddenly become a meaningful sequence,” Mieke Bal has noted.6 Freer established a master narrative—one based on East–West correspondences—early in his collecting ca- reer, and Whistler was clearly destined to be the hero of the story. Following their first meeting in London in 1890, the two men developed a close relationship based on mutual esteem and benefit. Whistler not only facilitated Freer’s acquisition of “a fine collection of Whistlers!!—perhaps The collection,” as he promised his patron in 1899, he also encouraged Freer’s burgeoning interest in comparative collecting, urging him to travel East and seek out rare specimens of Asian art to complement his own work. Writing in 1904 to fellow collector John Gellatly (whose contribu- tions to the Smithsonian are discussed by Amelia Goerlitz in this book), Freer noted, “Throughout the entire range of Whistler’s art . one feels the exercise of spiritual influences similar to those of the masters of Chinese and Japanese. Of course,” Freer concluded, “Mr. Whistler does unite the art of the Occident with that of the Orient.”7 Both in terms of his stylistic influences and subsequent relationship with a promi- nent collector of Asian art, Whistler is perhaps more closely associated with Asia—or, more accurately, with China and Japan—than any other nineteenth-century Western painter. Because of the close connection between artist and patron, the Freer’s Whis- tler holdings are the most comprehensive of any collection in the world: 130 paint- ings, 946 prints, 174 drawings, and the Peacock Room, as well as a wealth of archival and bibliographic materials, including the Paul Marks book collection, which was donated to the museum library in 2003.8 Whistler’s artistic debt to Asian sources has been thoroughly documented in scholarly literature and museum exhibitions, which have established the ways in which the artist first appropriated, and then more fully synthesized, motifs and pictorial structures from a variety of Chinese and Japanese sources, including porcelain, prints, lacquer, and textiles. This aspect of Whistler’s career is well represented in the Freer, most famously, perhaps, in the Peacock Room, which Whistler compared to a Japanese lacquer box. It was designed to display Kangxi blue-and-white porcelain and Whistler’s own homage to East Asian decorative arts, Stories of the Beautiful 219 1. James McNeill Whistler, Harmony in Blue and Gold: The Peacock Room, showing La Princesse du pays de la porcelaine 1 (1863–65), 1876–77. Oil paint and gold leaf on canvas, leather, and wood, overall: 166 × 241 ⁄2 × 404 in. Freer Gallery of Art, Smithsonian Institution, Washington, DC, Gift of Charles Lang Freer. La Princesse du pays de la porcelaine, which features the Anglo-Greek beauty Christina Spartali in Japanese robes in an eclectically oriental setting (Figure 1).9 After purchasing the room in 1904 and reassembling it in his Detroit home, Freer, who didn’t care for the slick surfaces or bright colors of Kangxi blue-and- white porcelain, filled its shelves with more than 200 examples of his own collec- tion of Asian ceramics whose textured, tonally subtle glazes harmonized with his collection of American tonalist painting. Some of these vessels, from China, Japan, Korea, Iran, Syria, and elsewhere, were purchased during Freer’s Asian travels, while others were acquired from dealers in New York and Europe. In 1908 he commis- sioned a photographer to document the room, and those images demonstrate the way in which he freely mixed objects from various cultures and cultural epochs, more concerned with their chromatic relationship to one another and the decora- tion of the Peacock Room than with their historical origins (which, in any event, were often inaccurately understood, as subsequent reattributions attest). Freer as- siduously documented all of his purchases, and his personal papers, particularly letters to and from dealers and collectors of Asian and American art, provide a fas- cinating record of the international art market at the turn of the last century. Later, when the Peacock Room was removed from Detroit and reinstalled in the museum in Washington, it was located at the southeast corner of the building, creating a literal link between the Whistler galleries and those rooms dedicated to the arts of 220 East–West Interchanges in American Art China. Registrarial records, gallery plans, photographs, and diaries document the changing array of Asian and American ceramics presided over by Whistler’s Princess since 1923.
Load more

Recommended publications
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • Charles Lang Freer and His Gallery of Art : Turn-Of-The-Century Politics and Aesthetics on the National Mall
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2007 Charles Lang Freer and his gallery of art : turn-of-the-century politics and aesthetics on the National Mall. Patricia L. Guardiola University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Guardiola, Patricia L., "Charles Lang Freer and his gallery of art : turn-of-the-century politics and aesthetics on the National Mall." (2007). Electronic Theses and Dissertations. Paper 543. https://doi.org/10.18297/etd/543 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. CHARLES LANG FREER AND HIS GALLERY OF ART: TURN-OF-THE-CENTURY POLITICS AND AESTHETICS ON THE NATIONAL MALL By Patricia L. Guardiola B.A., Bellarmine University, 2004 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville In Partial Fulfillment of the Requirements F or the Degree of Master of Arts Department of Fine Arts University of Louisville Louisville, Kentucky August 2007 CHARLES LANG FREER AND HIS GALLERY OF ART: TURN-OF-THE-CENTURY POLITICS AND AESTHETICS ON THE NATIONAL MALL By Patricia L. Guardiola B.A., Bellarmine University, 2004 A Thesis Approved on June 8, 2007 By the following Thesis Committee: Thesis Director ii DEDICATION In memory of my grandfathers, Mr.
    [Show full text]
  • A Finding Aid to the Charles Henry Hart Autograph Collection, 1731-1918, in the Archives of American Art
    A Finding Aid to the Charles Henry Hart Autograph Collection, 1731-1918, in the Archives of American Art Jayna M. Josefson Funding for the processing of this collection was provided by the Terra Foundation for American Art 2014 February 20 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Charles Henry Hart autograph collection, 1731-1918............................... 4 Series 2: Unprocessed Addition, 1826-1892 and undated..................................... 18 Charles Henry Hart autograph collection AAA.hartchar Collection
    [Show full text]
  • Beyond Science and Civilization: a Post-Needham Critique1
    EASTM 16 (1999): 88-114 Beyond Science and Civilization: A Post-Needham Critique1 Roger Hart [Roger Hart is a Mellow Postdoctoral Fellow in the Program in the History of Science at Stanford University. He has a B.S. (MIT) and M.S. (Stanford) in mathematics, and received his Ph.D. in history from UCLA in 1997. He is com­ pleting revisions of his dissertation "Proof, Propaganda, and Patronage: A Cultural History of the Dissemination of Western Studies in Seventeenth-Century China" for publication; he is also working on an edited volume Cultural Studies of Chinese Science, Technology, and Medicine. He has spent a total of six years teaching, studying, and researching in China.] * * * The contention that science is uniquely Western has never been presented as a thesis to be demonstrated historically-that is, stated explicitly, formulated rigor­ ously, evaluated critically, and documented comprehensively. Instead, throughout much of the twentieth century, variants on this theme frequently appeared in panegyrics for Western civilization ("Science ... is the glory of Western culture" [Kyburg 1990: 3]), in the forgings of exalted origins for the West in Greek antiq­ uity ("science originated only once in history, in Greece" [Wolpert 1992: 35]), and in accounts that confidently offered purported explanations for the absence of science in other civilizations-accounts thus unencumbered by any require- I This article developed from the concluding chapter of my dissertation which pres­ ents a study of Chinese mathematics during the Ming dynasty and a microhistorical analy­ sis of the introduction of Euclid's Elements into China. This article presents a critique of the science and civilizations approach within which much of the received historiography on this episode has been framed.
    [Show full text]
  • Beyond the Big Bang • the Amazon's Lost Civilizations • the Truth
    SFI Bulletin winter 2006, vol. 21 #1 Beyond the Big Bang • The Amazon’s Lost Civilizations • The Truth Behind Lying The Bulletin of the Santa Fe Institute is published by SFI to keep its friends and supporters informed about its work. The Santa Fe Institute is a private, independent, multidiscipli- nary research and education center founded in 1984. Since its founding, SFI has devoted itself to creating a new kind of sci- entific research community, pursuing emerging synthesis in science. Operating as a visiting institution, SFI seeks to cat- alyze new collaborative, multidisciplinary research; to break down the barriers between the traditional disciplines; to spread its ideas and methodologies to other institutions; and to encourage the practical application of its results. Published by the Santa Fe Institute 1399 Hyde Park Road Santa Fe, New Mexico 87501, USA phone (505) 984-8800 fax (505) 982-0565 home page: http://www.santafe.edu Note: The SFI Bulletin may be read at the website: www.santafe.edu/sfi/publications/Bulletin/. If you would prefer to read the Bulletin on your computer rather than receive a printed version, contact Patrisia Brunello at 505/984-8800, Ext. 2700 or [email protected]. EDITORIAL STAFF: Ginger Richardson Lesley S. King Andi Sutherland CONTRIBUTORS: Brooke Harrington Janet Yagoda Shagam Julian Smith Janet Stites James Trefil DESIGN & PRODUCTION: Paula Eastwood PHOTO: ROBERT BUELTEMAN ©2004 BUELTEMAN PHOTO: ROBERT SFI Bulletin Winter 2006 TOCtable of contents 3 A Deceptively Simple Formula 2 How Life Began 3 From
    [Show full text]
  • Voices from Early China
    Voices from Early China The Odes Demystified Voices from Early China The Odes Demystified Geoffrey Sampson Voices from Early China: The Odes Demystified By Geoffrey Sampson This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Geoffrey Sampson All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-5212-8 ISBN (13): 978-1-5275-5212-8 The symbol on the title page is the Chinese title of this book—Shi, “Poetry”—in the hand of the Tang dynasty monk Huai Su, who called his greatly admired calligraphy “the handwriting of a drunken immortal”. VOICES FROM EARLY CHINA v VOICES FROM EARLY CHINA Contents Map of the Tiw Kingdom xvi Introduction 1 List of Works Consulted 43 A Timeline of Early Chinese History and Myth 46 THE POEMS Airs of the States State of Tiw and Southwards 1 The Fish-Hawk 關雎 47 2 The Spreading Lablab Vine 葛覃 48 3 The Mouse-Ears 卷耳 49 4 Sagging Branches 樛木 50 5 Locusts 螽斯 50 6 The Delicate Peach-Tree 桃夭 51 7 The Rabbit Net 兔罝 52 8 Gathering Plantains 芣苢 52 9 The Wide River Han 漢廣 53 10 On the Embankment of the Nac 汝墳 54 11 A Unicorn’s Hooves 麟之趾 54 State of Daws and Southwards 12 Magpie and Dove 鵲巢 56 13
    [Show full text]
  • Whistler's 'Peacock Room' Reinterpreted at the V&A
    Visual Arts Whistler’s ‘Peacock Room’ reinterpreted at the V&A The installation by Darren Waterston is, like the original, an ‘overbearing exercise in decadence’ ‘Filthy Lucre’, Darren Waterston’s installation, a recreation of Whistler’s ‘Peacock Room’ © Amber Gray Lucy Watson JANUARY 24 2020 Opening this weekend at London’s Victoria and Albert Museum is a new installation: a reinterpreted, restaged 19th-century room. It is, according to its 21st-century creator Darren Waterston, “grotesque”. “Harmony in Blue and Gold: The Peacock Room” was one of the few forays into three dimensions by James Abbott McNeill Whistler, the American painter best-known for his austere 1871 portrait of his mother. Completed in 1877, the original was a dining room in a Kensington house, covered in vivid jade and gold chinoiserie murals and commissioned for the home of Frederick Richards Leyland, a shipping magnate, to display his collection of Asian ceramics. The room was completed by Whistler while his patron was abroad. On his return, Leyland hated it. Two years later, Whistler fell into debt, including to Leyland, and was forced to auction his home and studio in Chelsea. There for inspection by the creditors was a painting called “The Gold Scab: Eruption in Frilthy Lucre (The Creditor)” — in which Leyland was caricatured dressed as a peacock, surrounded by bags of money and sitting atop Whistler’s house. As a final withering statement, the painting was placed in the gilt frame that had been designed for the Peacock Room. https://www.ft.com/content/a76066b0-3d80-11ea-a01a-bae547046735 1/28/2020 Whistler’s ‘Peacock Room’ reinterpreted at the V&A | Financial Times 'The Gold Scab: Eruption in Frilthy Lucre (The Creditor)' by James Abbott McNeill Whistler (1879) The original interior is in Washington DC’s Freer Gallery of Art, but the V&A has brought a version to Kensington, moments from the Prince’s Gate apartment for which it was designed.
    [Show full text]
  • HENRY GEORGE by Clarence Darrow Address at the Henry George Anniversary Dinner of the Single Tax Club, Chicago, September 19Th, 1913
    .--4__ a & EVERYMAN-Sept.-Oct., 1913. 17 HENRY GEORGE By Clarence Darrow Address at the Henry George Anniversary Dinner of the Single Tax Club, Chicago, September 19th, 1913 ENRY GEORGE was born in Phila­ but a short time. Before that, even, he had delphia 75 years ago. His father lived learned to be a printer. He made his way to near Independence Hall. That was the west but, unlike most of the workers of the Ii world, while he was printing he was dreaming. not the reason he was a great man or that he believed in liberty. A great many little men He was thinking of something beyond work, have been born around Independence Hall, and higher than work and, more to the point, and a great many big men have been easier than work. He was a printer, a news­ born in almshouses and slums. Nature paper writer, an editor-not much of a suc­ somehow, does not seem to know much cess in a financial way. In all his life he about eugenics, or, if she does, then the latest never could make a success of finances, altho faddists don't understand the subject, and as he started early with a strong determination between the two, I would prefer to take my and a brave heart to get rich, encouraged by stand with Nature. For some mysterious rea­ his father, who lived in Philadelphia and had son, contrary to the doctors and the faddists, read Poor Richard's Almanack. They all Nature never seems to give you much indica­ thought it was a great thing to make money, tion of what the child will be from what its but this Henry George soon abandoned.
    [Show full text]
  • HOT NEW RELEASES A100Z1 JOHN BARRY BOOTSAUCE DOOBIE BROS TARA KEMP NEXT SCHOOL Se
    GERARDO FLASHMAKERS CROSSOVERS EARPICKS BREAKOUTS WILDCARD P. ABDUL Vir/Capt MARC COHN Atl PAULA ABDUL Vir/Capt M. BOLTON Col A. B. CREATION BLACK BOX Decon/RCA A. B. CREATION Mot SIMPLE MINDS A&M FISHBONE Col Motown EMF EMI- LL COOL J Def Jam/Col LONDONBEAT R'active DEADICATED Arista See Page 10 GERARDO Inter/E-W SIMPLE MINDS A&M A B CREATION Motown DOOBIE BROS. Cap HOT NEW RELEASES A100Z1 JOHN BARRY BOOTSAUCE DOOBIE BROS TARA KEMP NEXT SCHOOL Se.. Saw J. Dunbar Theme Everyone's A... Dangerous Piece Of My Heart Funk University EMI 56206 Epic 34T-73841 N Plat NP50158 Cap 44700 Giant 4-19364 Chrys 23710 BEE GEES G. COLE CANDY DUFLER KING O.T. HILL REMBRANDTS When He's Gone Whatever It Takes Lily Was Here IDo U There's Something... WB 19369 WB 19582 Arista 2187 SBK 05367 Atco 4-98786 DEEE-LITE JELLYFISH J. MITCHELL YO-Y0 Good Beat IWanna Stay Home Come In From... You Can't Play... 40, Elek 648804 Char 4-98788 Geffen N/A E-W/Amer 98831 itt EE BEES 0"8#41.0 "WHEN HE'S GONE" The New Single Produced by • ny Gibb. Maurice Gibb. Robin Gibb Engineered by Femi liya from the album HIGH CIVILIZATION May 6, 1991 Volume 5 Issue 240 $6.00 DENNIS LAVINTHAL Publisher SINGLES Burt Alert LENNY BEER C&C Music goes #1 again, leading aColumbia Top Editor In Chief Ten charge that includes potential future #1's for 4 TONI PROFERA Executive Editor Mariah Carey and Michael Bolton.
    [Show full text]
  • 1 United States Bankruptcy Court Eastern District of Michigan
    UNITED STATES BANKRUPTCY COURT EASTERN DISTRICT OF MICHIGAN ) ) In re ) Chapter 9 ) CITY OF DETROIT, MICHIGAN ) Case No.: 13-53846 ) Hon. Steven W. Rhodes Debtor. ) ) ) CITY OF DETROIT’S CORRECTED MOTION TO EXCLUDE TESTIMONY OF VICTOR WIENER The City of Detroit, Michigan (the “City”) submits its corrected motion to exclude the testimony of Victor Wiener, a putative expert offered by Financial Guaranty Insurance Company (“FGIC”).1 In support of its Motion, the City states as follows: INTRODUCTION 1. Victor Wiener is an appraiser who purported to appraise the entire 60,000-plus collection of art at the Detroit Institute of Arts (“DIA”) in less than 1 The City’s corrected motion is identical to the City’s Motion To Exclude Victor Wiener filed on August 22, 2014 (Doc. 7000), except that the corrected motion removes the paragraphs originally numbered 56, 57, and 58, which referred to an order entered by a federal court in In Re Asset Resolution, LLC, No. 09- 32824 (Bankr. D. Nev. May 25, 2010). The City has been made aware that the referenced order was vacated more than two years after it was entered. The corrected motion removes any reference to the vacated order, but this change does not affect the substance of the Motion or any of the grounds for relief that the City identifies. 1 13-53846-swr Doc 7453 Filed 09/12/14 Entered 09/12/14 16:23:50 Page 1 of 361 two weeks—a feat that even Mr. Wiener admits had never been achieved in the history of art appraisal.
    [Show full text]
  • The American Art Fair Thomas Colville Fine Art
    The American Art Fair Thomas Colville Fine Art November 12-15, 2017 Te Bohemian National Hall 321 East 73rd Street New York City GEORGE BELLOWS (American 1882-1925) The Watermelon Man, 1906 Crayon, charcoal, pen & ink on paper 14 x 17 inches Signed Geo. Bellows lower left Provenance: Weyhe Gallery, New York Literature: “The Craftsman” Vol. 17, February 1910, p. 596; Marianne Doezema, George Bellows and Urban America, Yale University, 1992, pp. iii, 134, no. 56, frontispiece Marianne Doezema, Tenement Life: Clif Dwellers, 1906-1913, in the exhibition catalog for “George Bellows,” National Gallery of Art, Washington D.C., 2012, p. 50, fg. 4 Exhibited: New York, Independent Artists’ Exhibition, organized by Robert Henri in the exhibition catalog for “George Bellows,” National Gallery of Art, Washington D.C., 2012, p. 50, fg. 4 FRANK W. BENSON (American 1862-1951) Ipswich Marshes Watercolor 18 x 24 inches Signed F W Benson lower right Provenance: From a Massachusetts Estate DAVID GILMOUR BLYTHE (American 1815-1865) January Bills Oil on canvas 20 x 24 inches Signed Blythe lower right Provenance: The artist George L. Hailman George W. Hailman Francis P. Garvan, 1939 Macbeth Gallery, New York Millicent Rogers, circa 1939 Arturo Peralta Ramos, by descent Gifted to Jacqueline Peralta Ramos, until 2017 Literature: Oliver W. Larkin, Art and Life in America, New York, Rinehart & Company, Inc., 1949, pg. 216 Dorothy Miller, The Life and Work of David G. Blythe, Pittsburg, Pennsylvania. University of Pittsburgh Press, 1950, pg. 75-76, 129 Bruce W. Chambers, The World of David G. Blythe (1815-1865), Washington DC, Smithsonian Institution Press, 1980, pg.
    [Show full text]
  • Prehispanic Art of Mesoamerica 7Th Grade Curriculum
    Prehispanic Art of Mesoamerica 7 th Grade Curriculum Get Smart with Art is made possible with support from the William K. Bowes, Jr. Foundation, Mr. Rod Burns and Mrs. Jill Burns, and Daphne and Stuart Wells. Written by Sheila Pressley, Director of Education, and Emily K. Doman Jennings, Research Assistant, with support from the Education Department of the Fine Arts Museums of San Francisco, © 2005. 1 st – 3 rd grade curriculum development by Gail Siegel. Design by Robin Weiss Design. Edited by Ann Karlstrom and Kay Schreiber. Get Smart with Art @ the de Young Teacher Advisory Committee 1 st – 3 rd Grade Renee Marcy, Creative Arts Charter School Lita Blanc, George R. Moscone Elementary School Sylvia Morales, Daniel Webster Elementary School Becky Paulson, Daniel Webster Elementary School Yvette Fagan, Dr. William L. Cobb Elementary School Alison Gray, Lawton Alternative School Margaret Ames, Alamo Elementary School Kim Walker, Yick Wo Elementary School May Lee, Alamo Elementary School 6th Grade Nancy Yin, Lafayette Elementary School Kay Corcoran, White Hill Middle School Sabrina Ly, John Yehall Chin Elementary School Donna Kasprowicz, Portola Valley School Seth Mulvey, Garfield Elementary School Patrick Galleguillos, Roosevelt Middle School Susan Glecker, Ponderosa School Steven Kirk, Francisco Middle School Karen Tom, Treasure Island School Beth Slater, Yick Wo Elementary School 7th Grade Pamela Mooney, Claire Lilienthal Alternative School th 4 Grade Geraldine Frye, Ulloa Elementary School Patrick Galleguillos, Roosevelt Middle School Joelene Nation, Francis Scott Key Elementary School Susan Ritter, Luther Burbank Middle School Mitra Safa, Sutro Elementary School Christina Wilder, Dr. Martin Luther King Jr. Middle School Julia King, John Muir Elementary School Anthony Payne, Aptos Middle School Maria Woodworth, Alvarado Elementary School Van Sedrick Williams, Gloria R.
    [Show full text]